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Javier Ruiz Pérez

Javier Ruiz Pérez

(La Carolina, Jaén, 1989)

 

There comes a time in the career of a realist painter when he decides what form his discourse will take. Rather, how equidistant it will be from the tradition on which it is based. For Javier Ruíz Pérez, this identity has travelled along different paths, such as urban art or figuration in the strictest sense. Now, that the vision of the world comes to us with nuances, like a subtle renunciation of detail in benefit of an expressive brushstroke committed to everyday life.

 

Let’s say that Javier’s approach to reality resembles the idea of the hermeneutic circle, of apprehending totality from a detail. It is the small everyday features and attitudes of his characters that mark the dialogue with a wholeness that, at first glance, might seem foreign to us. In Javier’s paintings there are many non-places, empty fields, plateaus where the human soul is reduced to a minimum expression.

 

That’s why their protagonists work, play and exist without giving an answer to the reasons that have led them to such places. Decontextualization is important, since it highlights the features of the work, whether it is the suppression of dress codes or the addition of objects and attitudes of necessary disparity.

 

Javier’s painting is a dialogue on human relationships, of small personal stories that converse with universal macrostructures. It is in this step between the mundane and the sublime that Javier stops time and gets down to work. In this world in transition, he enjoys a wide perspective on the ideas that precede him and those that he wishes to achieve. From there, his experience tells the rest.

 

He creates a lively snapshot, natural in its colors, faithful in the forms where the portrayed also experience that transition. Some exhibit civilized, socially transcendent attitudes, while others remain in an early but no less sophisticated stage.

 

It could be said that we are in the presence of works that are grateful for the exhibition format. Each piece participates in the old artistic game of creating a window to another reality. It also establishes a dialogical relationship with the wall that harbors them, in which we glimpse Javier’s experience as a muralist.

 

All of Javier’s previous experiences appear at some point in his work, giving richness to the whole. This is a good sign, since we are in front of a young artist of which we still have to enjoy more risk and evolution.

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